★★★★✰ There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape...
Tag - Ask la Cour
★★★★✰ How is the company looking? ...the company looks good so far.
★★★★✰ New York City Ballet is off to a fine start when it opens the winter season with a very well-danced all Balanchine, all Stravinsky program.
★★✰✰✰ Last week, on Thursday night, with the exception of The Four Temperaments, the company’s thoughts appeared to be elsewhere...
New York City Ballet 20th Century Violin Concertos: The Red Violin, In Memory Of…, Stravinsky Violin Concerto ★★★✰✰ New York, David H. Koch Theater 7 October 2017 www.nycballet.com davidhkochtheater.com It goes without saying that Stravinsky Violin Concerto is considered one of Balanchine’s greatest works, but never have I seen it shine so brightly than Saturday night at the Koch, with...
★★★✰✰ At New York City Ballet, the fall fashion gala has become a showcase for work by young choreographers. Each one is paired up with a fashion designer and voilà, it’s an event.
★★★✰✰ To watch works created by the 29-year old Justin Peck, resident choreographer of New York City Ballet, is to experience what it feels like to be young.
★★★✰✰ With only four works, no intermissions and a run time of less than two hours, New York City Ballet’s Spring Gala was short and to the point.
★★★★✰ The pleasure, above all, in watching this company is their fearless super-charge of energy and their commitment as the inheritors of Balanchine’s ballets.
★★★✰✰ "Incredible is Peck’s first narrative, and this fact was obvious Tuesday night, particularly in the opening scenes which lacked clarity..."
A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.
This was an evening not to be missed. Newly appointed Artistic Director, José Manuel Carreño, made sure that the quality of the eighteen guest artists for Ballet San Jose’s Gala Performance would tantalise even the most skeptical dance fan.
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
Even more than with other choreographers, the costumes and sets are essential elements of Graham’s dance imagination. Think of Martha’s stretchy sack-dress in Lamentation, or the prickly metal tree-dress by Noguchi in Cave of the Heart. They are extensions of the dancers’ bodies, and of Graham’s Jungian world-view.
Teresa Reichlen - known as Tess by friends and colleagues - is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
Is there a ballet more deceptive than Balanchine’s Divertimento from ‘Le Baiser de la Fée’? If so, I’m not aware of it.
What is there to say about Orpheus, except that it seems to slip deeper into the recesses of time? I’ve read that at the première, the critic and poet Edwin Denby was so moved by it that he sat dumbfounded during intermission, unable to stand. It is difficult to imagine such a reaction today.
After the dreary bombast of Alexei Ratmansky's recent Firebird for American Ballet Theatre, the Balanchine/Robbins version, with its blessedly shorter score (Stravinsky's Firebird Suite), heavenly Chagall designs and the great Ashley Bouder in one of her first great roles, was a welcome palliative.